Without Frost this time, he decided to revisit Twin Peaks, making the prequal film Twin Peaks: Fire Walk With Me in 1992. The film was a commercial and critical failure in the United States, although was a hit in Japan and British critic Mark Kermode has hailed the film as Lynch's "masterpiece".[23] Meanwhile, Lynch continued working on a series of television shows with Mark Frost. After Twin Peaks, they produced a series of documentaries entitled American Chronicles (1990) which examined life across the United States, the comedy series On the Air (1992), which was cancelled after only three episodes had aired, and the three-episode HBO mini-series Hotel Room (1993) about events that happened in the same hotel room but at different dates in time.[24]

[edit] Return to cinema and digital work (1997-2006)

However, Lynch clashed with the ABC Network on several matters, particularly whether or not to reveal Laura Palmer's killer. The network insisted that the revelation be made during the second season but Lynch wanted the mystery to last as long as the series. Lynch soon became disenchanted with the series, and, as a result, many cast members complained of feeling abandoned. Later he stated that he and Frost had never intended to ever reveal the identity of Laura's killer, that ABC forced him to reveal the culprit prematurely, and that agreeing to do so is one of his biggest professional regrets.[21] Twin Peaks suffered a severe ratings drop and was canceled in 1991. Still, Lynch scripted a prequel to the series about the last seven days in the life of Laura Palmer.

Meanwhile, whilst Twin Peaks was in production, the Brooklyn Academy of Music asked Lynch and Badalementi to create a theatrical piece which would only be performed twice at their academy in New York City in 1989 as a part of the New Music America Festival. The result was Industrial Symphony No. 1: The Dream of the Broken Hearted, which starred such frequent Lynch collaborators as Laura Dern, Nicolas Cage and Michael J. Anderson as well as containing five songs sung by Julee Cruise. David Lynch produced a 50-minute video of the performance in 1990.[22] Following this, Lynch returned to making feature films, after his friend, Monty Montgomery offered him the chance to adapt Barry Gifford's novel, Wild at Heart: The Story of Sailor and Lula into a film. Lynch agreed, with the result being Wild at Heart, a crime and road movie starring Nicolas Cage and Laura Dern. Despite receiving a muted response from American critics and viewers, it won the Palme d'Or at the 1990 Cannes Film Festival.[4]

In the late 1980s, Lynch moved from producing films to focusing on television, directing a short film entitled The Cowboy and the Frenchman in 1989 for French television,[19] before meeting the producer Mark Frost, with whom he would go on to collaborate with on a number of projects. Initially, Lynch and Frost planned to create a surreal comedy named One Saliva Bubble, but it never materialised.[20] Instead they created a show entitled Twin Peaks, a drama series set in a small Washington where the popular high school student Laura Palmer has been raped and murdered. To investigate, the FBI Special Agent Dale Cooper (Kyle MacLachlan) is called in, eventually unearthing the secrets of many town residents and the supernatural nature of the murder. Lynch himself directed only six episodes of the series, including the feature-length pilot, which debuted on the ABC Network on April 8, 1990. Lynch himself later starred in several episodes of the series as the FBI agent Gordon Cole. Twin Peaks gradually rose from cult hit to cultural phenomenon, and because of its originality and success remains one of the most well-known television series of the decade. Catch phrases from the show entered the culture and parodies of it were seen on Saturday Night Live and The Simpsons. Lynch appeared on the cover of Time magazine largely because of the success of the series.[citation needed]

Lynch's second De Laurentiis-financed project was 1986's Blue Velvet, the story of a college student (Kyle MacLachlan) who discovers his small, idealistic hometown hides a dark side after investigating a severed ear that he found in a field. The film featured performances from Isabella Rossellini as a tormented lounge singer and Dennis Hopper as a crude, psychopathic criminal. Although Lynch had found success previously with The Elephant Man, Blue Velvet's controversy with audiences and critics introduced him into the mainstream, and became a huge critical and moderate commercial success. Thus, the film earned Lynch his second Academy Award nomination for Best Director. The content of the film and its artistic merit drew much controversy from audiences and critics alike in 1986 and onwards. Blue Velvet introduced several common elements of his work, including abused women, the dark underbelly of small towns, and unconventional uses of vintage songs. Bobby Vinton's "Blue Velvet" and Roy Orbison's "In Dreams" are both featured in unconventional ways. It was also the first time Lynch worked with composer Angelo Badalamenti, who would contribute to all of his future full-length films except Inland Empire. Woody Allen, whose film Hannah and Her Sisters was nominated for Best Picture, said that Blue Velvet was his favorite film of the year.[18]

[edit] The transition to television (1987–1996)

Afterwards, Lynch agreed to direct a big-budget adaptation of Frank Herbert's science fiction novel Dune for Italian producer Dino De Laurentiis's De Laurentiis Entertainment Group, on the condition that DEG release a second Lynch project, over which the director would have complete creative control. Although De Laurentiis hoped it would be the next Star Wars, Lynch's Dune (1984) was a critical and commercial dud; it cost $45 million to make, and grossed a mere $27.4 million domestically. Later on, Universal Studios released an "extended cut" of the film for syndicated television; this contained almost an hour of cutting-room-floor footage and new narration. Such was not representative of Lynch's intentions, but the studio considered it more comprehensible than the original two hour version. Lynch objected to these changes and had his name struck from the extended cut, which has "Alan Smithee" credited as the director and "Judas Booth" (a pseudonym which Lynch himself invented, inspired by his own feelings of betrayal) as the screenwriter. The three hour version has since been released on video worldwide.

nebudu za váma slídit. tak dalece mě nezajímáte. když vypadnete dám pokoj. Nehledě na to že jinde můžete dát ban komu chcete

Eraserhead brought Lynch to the attention of producer Mel Brooks, who hired him to direct 1980's The Elephant Man, a biopic of deformed Victorian era figure Joseph Merrick (John Hurt). Lynch brought his own distinct surrealist approach to the film, filming it in black and white, although it has still been described as "one of the most conventional" of his films.[17] The Elephant Man was a huge commercial success, and earned eight Academy Award nominations, including Best Director and Best Adapted Screenplay nods for Lynch. It also established his place as a commercially viable, if somewhat dark and unconventional, Hollywood director. George Lucas, a fan of Eraserhead, offered Lynch the opportunity to direct Star Wars: Return of the Jedi, which he refused, feeling that it would be more Lucas' vision than his own.[13] Meanwhile in 1983 he began the writing and drawing of a comic strip, The Angriest Dog in the World, which featured unchanging graphics alongside cryptic philosophical references. It ran from 1983 until 1992 in the Village Voice, Creative Loafing and other tabloid and alternative publications

tam můžete dát ban komu chcete.

ty druhá sloveno. jednoduché řešení. přelezte jinam a tam si pište. existuje desítky stovky tisíce míst kde jde vytvořit diskuzi

In 1971, Lynch moved to Los Angeles, California to study for a Master of Fine Arts degree at the AFI Conservatory. At the Conservatory, Lynch began working on his first feature-length film, Eraserhead, using a $10,000 grant from the AFI. The grant did not provide enough money to complete the film and, due to lack of a sufficient budget, Eraserhead was filmed intermittently until 1977. Lynch used money from friends and family, including boyhood friend Jack Fisk, a production designer and the husband of actress Sissy Spacek, and even took a paper route to finish it. A stark and enigmatic film, Eraserhead tells the story of a quiet young man (Jack Nance) living in an industrial wasteland, whose girlfriend gives birth to a constantly crying mutant baby. Lynch has referred to Eraserhead as "my Philadelphia story", meaning it reflects all of the dangerous and fearful elements he encountered while studying and living in Philadelphia.[13] He said "this feeling left its traces deep down inside me. And when it came out again, it became Eraserhead".

The final film was initially judged to be almost unreleasable, but thanks to the efforts of the Elgin Theater distributor Ben Barenholtz, it became an instant cult classic and was a staple of midnight movie showings for the next decade. It was also a critical success, launching Lynch to the forefront of avant-garde filmmaking. The acclaimed film maker Stanley Kubrick said that it was one of his all-time favorite films.[14][15] It cemented the team of actors and technicians who would continue to define the texture of his work for years to come, including cinematographer Frederick Elmes, sound designer Alan Splet, and actor Jack Nance. Meanwhile, Lynch continued producing short films, and during "a brief lull in the filming of Eraserhead" had produced The Amputee in 1974, revolving around a woman with stumps for limbs (Catherine Coulson) who has them washed by a doctor, played by Lynch himself.[16]

In 1966, Lynch relocated to the Fairmount neighborhood of Philadelphia, Pennsylvania, where he attended the Pennsylvania Academy of Fine Arts (PAFA) and made a series of complex mosaics in geometric shapes which he called Industrial Symphonies. At this time, he also began working in film. His first short film Six Men Getting Sick (1966), which he described as "57 seconds of growth and fire, and three seconds of vomit", was played on a loop at an art exhibit. It won the Academy's annual film contest. This led to a commission from H. Barton Wasserman to do a film installation in his home. After a disastrous first attempt that resulted in a completely blurred, frameless print, Wasserman allowed Lynch to keep the remaining portion of the commission. Using this, he created The Alphabet in 1968, starring his then wife Peggy Lynch as 'the Girl' who chants the alphabet to a series of disturbing animated images before dying at the end.[11]

In 1970, Lynch turned his attention away from fine art and focused primarily on film. He won a $5,000 grant (later extended to $7,200) from the American Film Institute to produce The Grandmother, a short film about a neglected boy who "grows" a grandmother from a seed. The film critics Michelle Le Blanc and Colin Odell later remarked that "this film is a true oddity but contains many of the themes and ideas that would filter into his later work, and shows a remarkable grasp of the medium".[12]

Lynch was born in Missoula, Montana on January 20, 1946.[7] His father, Donald Walton Lynch, was a U.S. Department of Agriculture research scientist, and his mother, Edwina "Sunny" Lynch (née Sundholm), was an English language tutor.[7] His maternal grandfather's parents immigrated to the United States from Finland in the 19th century. Lynch was raised a Presbyterian[8][9] and spent his childhood throughout the Pacific Northwest and Durham, North Carolina. He attained the rank of Eagle Scout and, on his 15th birthday, served as an usher at John F. Kennedy's Presidential Inauguration.[7]

Intending to become an artist, Lynch attended classes at Corcoran School of Art in Washington, D.C. while finishing high school in Alexandria, Virginia. He enrolled in the School of the Museum of Fine Arts in Boston for one year (where he was a roommate of Peter Wolf)[10] before leaving for Europe with his friend and fellow artist Jack Fisk, planning to study with Austrian expressionist painter Oskar Kokoschka. Although he had planned to stay for three years, Lynch returned to the U.S. after only 15 days.

Lynch has received three Academy Award nominations for Best Director, for his films The Elephant Man (1980),[1] Blue Velvet (1986),[2] and Mulholland Drive (2001),[3] and has also received a screenplay Academy Award nomination for The Elephant Man. Lynch has twice won France's César Award for Best Foreign Film, the Palme d'Or at the Cannes Film Festival[4] and a Golden Lion award for lifetime achievement at the Venice Film Festival. The French government awarded him with the Legion of Honor, the country's top civilian honor, as Chevalier in 2002 then Officier in 2007,[5] whilst that same year, The Guardian described Lynch as "the most important director of this era".[6]

David Keith Lynch (born January 20, 1946) is an American filmmaker and visual artist. Over a lengthy career, Lynch has employed a distinctive and unorthodox approach to narrative filmmaking (dubbed Lynchian), which has become instantly recognizable to many audiences and critics worldwide. Lynch's films are known for surreal, nightmarish and dreamlike images and meticulously crafted sound design. Lynch's work often depicts a seedy underside of small town America (particularly Blue Velvet and Twin Peaks), or sprawling California metropolises (Lost Highway, Mulholland Drive and his latest release, Inland Empire). Beginning with his experimental film school feature Eraserhead (1977), he has maintained a strong cult following despite inconsistent commercial success.

Ria a proč se nejdete bavit někam jinam? Teda ne že by bylo v mé moci vás někam přesunout. ale proč se nepřesunete? Jen by mě to zajímalo

grrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrrr... mam zas záchvat. nemozem komunikovat. fakt ne

ale já nepíšu odborníka. i když je mi jeho příspěvek sympatický musím přiznat. to teda znamená, že tu je několik lidí co to tu čte a někteří aktéři se jim taky zajídají. a nebo to tu píšete vy sami a snažíte se to ještě víc rozvířit?

Ty blbec já tu nepíšu resenze. Jsi ty vůbec normální? Nevšiml sisi že jsem psal že budu dělat copy paste. Co ty jsi vůbec zač, že tu budeš diktovat že se nesmí něco kpírovat? Závidíš mi zdroje nebo co se sereš do mého copy paste? Ty na mě nemluv nebo chytnu zase smrště!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!... blivy sprosťáku odporný. Ty mazale. haha určitě krásné obrázky máš.nebude tohle schízka JAK PRASE. aLE nás to taky bere. už máme zas smrštěěěěěěěěěěěěěěěěěěěěěěěěěěěě

ale zato nick dodo to je týpek. Zlý až na půdu. Depresivní jak prase. A hlavně zlý. Strašně zlý.

The plot of Heroes is designed to be similar to the stories of comic books with small story arcs built into the series' overall large story arc plot. Each season of Heroes is designed to involve ordinary people who discover extraordinary super powers, and how these abilities take effect in the character's daily lives.